I feel a deep affection for the choral music of Schubert both
the secular and especially the sacred. In my region of north-west
England in the last two years
I have attended concerts given by three visiting German cathedral choirs. Only
last week I heard the outstanding youth choir of Braunschweig Cathedral directed
by Domkantor Gerd-Peter Münden and Kantorin Elke Lindemann performing choral
works by Brahms, Rheinberger, Telemann, Mendelssohn, Schütz, Schumann, Schein
and Kirnberger. Typically there was nothing at all from Schubert’s pen.
I’m not suggesting that this is anywhere near being a representative sample
but this is more verification of Schubert’s choral music being out of favour.
Schubert’s choral scores have been overshadowed by the popularity of works
such as his‘Unfinished’,‘Great’ C
major,lieder, chamber music and solo piano works.

Going some way towards redressing the balance this is a welcome and quite splendid
reissue. The first volume is Sacred Choral Music, the second Secular
Choral Music and the third is what I translate as Famous Works for Male
Chorus. When Delta-Music GmbH went out of business the German classical music
label Capriccio, part of their group of companies, had to follow too. Former
Capriccio artistic director Johannes Kernmayer has founded the newly launched
record company Phoenix Edition and is busy re-licensing from the liquidators
what he can from the Capriccio back catalogue.
CD1 Geistliche Chormusik (Sacred Music).
The first volume of the set is titled Geistliche Chormusik (Sacred
Music). Schubert is not especially well known for his liturgical works. He
did however produce sacred works consistently throughout his career, writing
his first Mass in F major when he was seventeen and his last Mass No.
6 in E flat major in 1828, just a few months before his death.

Some of Schubert’s early sacred pieces, which were very much influenced
by Haydn, were performed at his local church but few of the later works were
performed during his lifetime. Schubert’s relationship with the Roman Catholic
Church was a turbulent one. At times he found it hard to accept what he saw as
the harsh and dogmatic aspects of the Catholic Church, often challenging the
established views of the church. In addition some of his sacred scores ran into
trouble with Church authorities for inconsistencies in the word settings. Schubert
never did set the words ‘I believe in one Catholic and Apostolic Church’ a
text that was virtually obligatory. Nevertheless, there are some wonderful settings
amongst his six numbered Masses especially the monumental Mass No.
6 in E flat major, D950. There is also the popular Deutsche Messe,
D872and the incomplete Cantata: Lazarus,D689 a
score considered years ahead of its time. Several of the shorter works are miniature
gems that deserve a wider circulation namely: the Stabat mater, D175 and
D383, Magnificat, D.486, Psalm 23, D706, Salve Regina, D379,
D386, D676 and D811, Tantum ergo, D461, D739, D750 and D962, and Offertorium,
D963.

This first volume comprises a selection of twelve of Schubert’s shorter
liturgical pieces with none of the 6 numbered Masses. The highlight of
these scores is the opening work the suitably reverent Offertory ‘Intende
voci orationis meae’in B flat major for tenor, chorus and orchestra,
D963 from 1828. At just over nine minutes this is the longest work on the disc
and displays Schubert’s interesting use of woodwind. The featured tenor
voice of Peter Schreier is in fine condition and at times reminded me of the
quality of Peter Pears in his full vocal maturity.

The stirring Magnificat in C major, D486 from 1816 is splendidly performed
with such vigour and expression by the quartet of soloists soprano Celina Lindsley;
alto/contralto Gabriele Schreckenbach, tenor Werner Hollweg and bass Walton Grönroos.
The RIAS-Kammerchor and the Rundfunk-Sinfonie-Orchestra, Berlin under Marcus
Creed are on splendid form throughout.

It is hard to believe that Schubert wrote this beatific setting of the well-beloved Psalm
23,Gott ist mein Hirt (The Lord is my Shepherd), Op.
posth, D706 to serve as an examination piece. Composed in 1820 at the request
of Schubert’s friend Anna Fröhlich, the score was evidently a test
piece for her vocal pupils. Scored here for two sopranos, two contraltos and
piano Psalm 23 is one of Schubert’s few sacred scores that became
staples of the repertoire; especially the version for women’s chorus with
piano accompaniment. The exquisite harmonies of the piano prelude played by Bernd
Casper, the magical entry of the voices and the smooth writing for the female
vocal quartet of sopranos Brigitte Domhardt and Karin Pohl, and contraltos Astrid
Pilzecker and Claudia Graswurm, who sing so affectingly make it easy to understand
the popularity of the work.

Schubert’s world-famous setting of Ave Maria - this is a certainly
a work that has indelibly made its mark on the repertoire.The score was
composed around 1825 in devotion to the Virgin Mary. Using a German text Helmut
Froschauer directs the Wiener Sängerknaben and the Kölner Rundfunkorchester
with considerable care and attention. Soloist alto David Cordier is in glorious
voice with noticeably firm production and clear diction.

The movement Zum Sanctus: Heilig, heilig is taken from the highly
appealing Deutsche Masse(German Mass) D872. Completed in 1827
the nine movement Mass was designed to be within the scope of church congregations
without formal training. The singing from the RIAS-Kammerchor is outstanding
especially their unity of ensemble. The choir are ably supported by the Rundfunk-Sinfonieorchester
Berlin under Marcus Creed’s direction.

Last year Capriccio issued a splendid single SACD disc of Sacred Music that
is virtually identical to the contents of volume one of this triple Phoenix Edition
set (see
review).

Probably the finest collection of Schubert’s Sacred Choral Works is
contained on an outstandingly performed and recorded 7 disc box set for EMI conducted
by Wolfgang Sawallisch and the Bavarian Radio Chorus and Orchestra. The 35 sacred
scores were recorded in 1977 and 1979/83 at the Munich Herkulessaal for EMI Classics
5 86011 2. Sawallisch’s impressive list of performers include the following:
Peter Schreier (tenor); Dietrich Fischer-Dieskau (baritone); Helen Donath (soprano);
Lucia Popp (soprano); Brigitte Fassbaender (mezzo) and Adolf Dallapozza (tenor).
Details of this set are contained in the footnotes to this review.

CD2 Weltliche Chormusik (Secular Choral Music)
Schubert was a prolific writer in the field of secular part-songs and choruses.
They became an established feature at events such as the Gesellschaft der Musikfreunde
in Vienna. Some of the scores would also be included at Schubertiades -
salon parties of Schubert’s music. Schubert’s secular choral scores
have certainly been overshadowed by the immense popularity of his Lieder;
a far more practical and cost-effective proposition to produce.
I particularly enjoyed the 1827 version of Ständchen (Serenade)
in the version for contralto, male choir and piano, D920. In this nocturne set
to a Franz Grillparzer text contralto Astrid Pilzecker displays impressive vocal
control with a highly appealing timbre. The Männerchor des Rundfunkchores
Berlin with pianist Bernd Casper are strongly supportive.
A neglected masterpiece is the Gesang der Geister über den Wassern (Song
of the Spirits above the Water), D714. Schubert’s setting of Goethe’s pantheistic
poem is scored for male choir and low strings. Strong and darkly eloquent performances
from the Männerchor des Rundfunkchores Berlin and a string section from
Rundfunk-Sinfonie-Orchestra, Berlin combine to provide a highpoint of the set.

Another of my favourite works is the superb version of Gott in der natur (God
in Nature) in the arrangement for female chorus and piano, D757 was completed
by Schubert in 1822. The prominent piano part reminds me of Rossini’s Petite
Messe Solennelle which Schubert predates in this score by over forty years.
The Frauenchor des Rundfunkchors Berlin directed by Dietrich Knothe give a radiant
performance splendidly accompanied by Bernd Casper.

CD3 Berühmte Männerchöre (Famous
Works for Male Chorus)
Of Schubert's part-songs/choruses around two-thirds are scored for male chorus.
This is a reflection of the social order of the day in Vienna and surrounding
areas I guess. I estimate that about twenty percent of the part-songs/choruses
are for mixed chorus; women’s voices account for around six scores. The
rest are scored for unison or unspecified choral forces. Some of the works for
male chorus are rousing drinking songs mainly from Schubert’s youth. These
carry titles such as Wein und Liebe (Wine and Love), Trinklied (Drinking
song) and Punschlied (Punch song).

One of my favourite scores on the disc was Der Gondelfahrer (The Gondolier) for
male chorus and piano, D809. Schubert completed the work in 1824 to a Johann
Mayrhofer text. In this performance from the Männerchor des Rundfunkchores
Berlin under the direction of Dietrich Knothe it is not difficult to visualise
a nocturnal scene with a gondolier gently stroking his craft forward on a sleepy
Venetian lagoon - a gentle rocking to the sound of the chimes of St. Mark’s
basilica.

Completed 1826 Nachthelle (Light at Night) is an impressive setting
of a Johann Seidl text in dialogue form for tenor solo, male chorus and piano.
Ekkehard Wagner in the tenor part is a thoughtful interpreter supported by the
again impressive Männerchor des Rundfunkchores Berlin. The passionate intensity
of the central section of the score is a highlight. I love the piano accompaniment
from Bernd Casper - it conveys an ethereal quality.
It is thought that Friedrich Wilhelm Krummacher was the author of the text to Die
Nacht (The Night). Schubert made his setting for male chorus around
1822. With this moving singing from the Männerchor des Rundfunkchores under
Dietrich Knothe I was struck by the vivid imagery aided by an interpretation
evocative of the shimmering and alluring beauty of the calm night.

Another outstanding disc of Schubert secular choral music worth considering is
from the RIAS-Kammerchor directed by Marcus Creed for Harmonia Mundi. Titled Nachtgesang (Night
Song) the disc contains eleven scores, six of which are duplicated on two
of the Phoenix Edition volumes Weltliche Chormusik (Secular Choral
Music) and the Berühmte Männerchöre (Famous Works
for Male Chorus). Marcus Creed recorded that disc at the Kammermusiksaal
of the Berlin Philharmonie in 1997/9. It is on Harmonia Mundi HMC 901669.

Now the grumbles. Phoenix Edition has provided no information whatsoever about
when and where in Germany the scores were originally recorded for Capriccio.
They all seem to be modern digital recordings. The sound quality across all three
volumes is very natural with an excellent balance. The liner-notes present difficulties
as the information is difficult to follow and lacking in any real detail. For
example no information is provided about the scoring and a few of the parts are
uncredited. Information about the recording venues and dates is not given. The
essay in the booklet is one of the most ineffectual I have seen and to add to
the disappointment there are no texts. Using my best endeavours I have translated
the titles into English from Google searches. However, if we ignore the flawed
presentation congratulations are still in order.

The performances across all three volumes of the set invite considerable praise.
When combined with the integrity of Schubert’s choral music and the splendid
sound quality this is a most desirable release.

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